54403 Studio: Foundations in Animation Language

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2025 is available in the Archives.

Description

Primary research through observational drawing, photography, film, and sound recording are key elements in the creative process in this subject. Students participate in a varied program of observational drawing classes, visual research, story-telling and problem-solving projects designed to introduce them to a wide range of possibilities within animation. These short projects acquaint students with a diverse range of research methods, which feed directly into their creative outcomes. Students learn to record and collect information and imagery, and then to apply this to their work in imaginative ways. Secondary research, through the exploration of existing art, design, media and culture – not just animation – is also an essential component, as inspiration and information should be found in the most varied and unlikely places. The subject prioritises the development of a clear, original and thorough approach to research, ideas generation and character design.

Subject learning objectives (SLOs)

Course intended learning outcomes (CILOs)

This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:

• Demonstrate a high level of craft and production value across multiple methods, aesthetics and techniques of the animation process (1.2)
• Apply theoretically informed processes to production practice including managing complexity and collaboration, incorporating research into development, active iteration and critique, clarity in communication, delegation, and resource management. (1.3)
• Deploy literacy skills to undertake primary and secondary research, exploring a wide range of visual and textual materials, and connect research process to final outcomes (2.1)
• Contextualise work within current and historical animation practice and theory. (2.3)
• Integrate risk taking and experimentation through development of unique aesthetics, techniques and movement languages in animation. (2.4)
• Employ professional skills responsibly and respectfully demonstrating sensitivity as a global citizen and being open to cultural exchange, inclusion and dialogue. (3.1)
• Apply a critical and responsible understanding of Indigenous peoples, cultures and protocols to creative practice (4.1)
• Act with transparency and exhibit personal and professional ethical integrity and broad social responsibility. (5.1)
• Possess well-developed skills and proficiencies to present and communicate narrative, complexity and abstract ideas with precision. (6.1)

Teaching and learning strategies

Weekly lectures and studio-based workshops and tutorials. Students participate in individual tutorials, group discussions and team-based activities throughout the semester.

Studio model of learning includes demonstrations, presentations, visual tasks and exercises, seminars, case studies and external visits. In studios the subject includes active learning experiences where ongoing feedback is provided weekly. It is therefore imperative that students attend all on-campus engagements.

This subject uses the problem-based learning strategy that involves students in researching and developing their own solutions to complex design challenges. The subject uses animation, design and illustration professionals as mentors and guest lecturers to ensure that all content and tasks are relevant to current professional practice in a global context. The lecture sessions provide knowledge relevant to the subject, enabling students to work on their design projects.

All studio briefs are accessed through UTS Canvas with week-by-week schedules provided. Students are responsible for preparing for each studio class by following and responding to feedback given in class and by satisfying the weekly requirements of the brief. Students are expected to spend time outside of the tutorial group on inquiry and problem-based activities that relate to the assessment task. Collaboration and engagement with other students will take place within the class in the form of pin ups, group discussions and feedback and group projects.

In the studios students work on their design projects with a mentor. At the beginning of each studio the mentor discusses with the entire group the challenges they are facing with their projects. The mentor then prompts students faced by similar challenges to facilitate collaborative discussions. The mentor reviews each student’s work weekly, provides feedback verbally, takes notes and/or suggests homework specific to the unique design problems presented by the specific project. It is the students' responsibility to record any feedback provided in studio. During pin-up presentations students are expected to actively participate in collaborative peer review feedback exercises.

Students have an opportunity to receive feedback from mentors and peers prior to the census date during in-studio feedback sessions and formal critique of the works-in progress.

An aim of this subject is to help you develop academic and professional language and communication skills in order to succeed at university and in the workplace. To determine your current academic language proficiency, you are required to complete an online language screening task, OPELA (information available at https://www.edu.au/research-and-teaching/learning-and-teaching/enhancing/language-and-learning/about-opela-students). If you receive a Basic grade for OPELA, you must attend additional Language Development Tutorials (each week from week 4 to week 12 in order to pass the subject. These tutorials are designed to support you to develop your language and communication skills. Students who do not complete the OPELA and/or do not attend 80% of the Language Development Tutorials will receive a Fail X grade.

Content (topics)

Introduction to drawing as a research tool. Students practice observation-based drawing skills in life drawing and filed drawing exercises. Students experiment with different forms of traditional materials, mark making and procedural drawing techniques.

Introduction to drawing as a design tool. Students work through creative problems using a drawing as a tool to visualise ideas, prototype, identity problems and explore conceptual possibilities

Drawing on Country. Students explore the specific ethical, socials and practical frameworks for creating images and telling stories on Indigenous land.

Applied Animation fundamentals. Students begin to apply animation fundamentals skills studied in the 2D 'animation context' subject to character design and storyboarding.

Introduction to storytelling - Applied investigations of story and narrative as an essential mode of cultural production in human culture particularly in indigenous and first nations. Students begin to learn how to analyse and interrogate stories as well as creating their ow.

Introduction to visual culture. Visual journaling, scrapbooking and image collection as an essential practice for visual communicators Understanding how to use primary and secondary research in an imaginative and authentic manner through visual tasks and exercises using a variety of materials

Thinking through making. Hands-on demonstrations and workshops to investigate new materials and techniques

Assessment

Assessment task 1: Disguises - character and environment design

Assessment task 2: Leporello - field drawing exercise

Assessment task 3: Drawing Studio - portfolio of drawings from class

Minimum requirements

Attendance is crucial to this subject as tutors seek evidence of research, concept development and reflexive iteration over the course of the semester during feedback and discussion in weekly classes. A majority of an individual student’s grade is awarded to creative process. Tutors are unable to accurately assess the rigour of process in student work if students are not available for discussion and feedback during class time. A roll will be taken at the beginning of each class. Unless otherwise agreed through formal UTS Special Consideration processes, students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8).

It is a requirement of this subject that all students complete OPELA. Students who received a Basic grade in the OPELA are required to attend 80% of the Language Development Tutorials in order to pass the subject. Students who do not complete the OPELA and/or do not attend 80% of the Language Development Tutorials will receive a Fail X grade.

References

Bang, M. (2016) Picture This: How pictures work, Chronicle Books.

Berger, J. (1972) Ways of Seeing, Penguin.

Blair, P. (1994) Cartoon Animation, Walter Forster Publishing.

Dorne, A. (1967) Famous Artists Course in Commercial Art, Illustration and Design, Famous Artists’ School.

Edwards, B. (2012) Drawing on the Right Side of the Brain, Tarcher / Penguin.

Heiss, A. ed. (2020) Growing up Aboriginal in Australia, Black Inc.

Hughes, R. (1988) The Fatal Shore, Vintage.

Madden, M. (2005) 99 Ways to tell a story: Exercises in style, Penguin.

Mateu-Mestre, M. (2011) Framed Ink, Titan Books

Pascoe, B. (2014) Dark Emu: Aboriginal Australia and the birth of Agriculture, Magabala books.

Williams R. (2001) The Animator’s Survival Kit, Faber and Faber.

McCloud, S. (1994) Understanding Comics: The Invisible Art, Harper Colins.